Could architecture's obsession with iconography be informed by the complexity and instability of our own national icon? Can a building make use of the icon's evocative potential without condensing into the rote clichés of symbolism?
The current white house, with its monumental, symmetrical and classical form, it is a symbol of centralized national power, but it is no longer the country's most powerful symbol. The aerial image of the national territory itself is the most common representation of the United States, and it is anything but centralized; it is multiplicitous, diverse and divided.
Our proposal for the Storefront for Art and Architecture's White House Redux Competition seeks the threshold of recognition, incorporating the nation's dispersion and diversity without consolidating them into a unified icon.